To give the video a "raw" feel there were no retouches done to it.
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It is, in short, the Call of Duty of 2007, rebuilt with a handful of retouches for modern sensibilities.
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There's hardly any lag, and retouches made with the stylus happen in real-time, perfect for a photo-editing novice like myself.
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At the foundry, Mr. Aceves retouches waxes and refashions pieces alongside the artisans who cast his creations, continuing the region's age-old collaborative tradition.
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The artist could never imagine that in one of these pictorial retouches, which she made with the best of intentions, it happened what happened in 2012.
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Around the set, made to look like a white-collar office caught in a supernatural war zone, Margot Robbie, wearing hot pants, pigtails and a T-shirt reading "Daddy's Lil Monster," was getting retouches to her garish clown makeup.
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This is a process that we might call "getting to zero," when an artist — or anyone, really — digs through all the sap that gets encrusted around a career or relationship and retouches the intrinsic impulse that got him or her into it in the first place.
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Every celebrity—and, indeed, every person alive; you don't necessarily need to be famous to only post the good selfies on Instagram—curates, retouches, polishes their online presence, runs it through a team, tweets their initials on the rare times they actually say what's been attributed to them, lives a distant life, far removed from the rest of us.
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A computer measures everything and sends all information to a machine that makes the physical model. The model goes to the painting room, where it gets the final look. In this painting room restorations also take place. Because most of the miniatures are outdoors, they need regular paint retouches.
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The stone tools are made of siliceous limestone, while the hammer stones and scrapers are made of vein quartz. Among the features of the tools, heavy flakes and cores were produced by a hurling technique, followed by a few direct percussions to form the cutting edges, with little to no secondary retouches in most cases.
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The manufacturer first creates an Oldowan tool. Then he reworks or retouches the edges by removing very small chips so as to straighten and sharpen the edge. Typically but not necessarily the reworking is accomplished by pressure flaking. The pictures in the introduction to this article are mainly labeled Acheulean, but this is the now false Acheulean, which also includes Abbevillian.
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Syncro was also available in the North American market, only with the five-cylinder engine. In 1985, the range received a slight facelift, consisting of new, larger bumpers, interior retouches, a new front grille and new taillights on the hatchback versions. The three-door hatchback was discontinued, while the Santana nameplate was dropped in Europe. The saloon's front end was now the same as the hatchback and estate.
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When a batted ball is hit in the air, i.e., a fly ball, and caught by the defending team, runners must return and "retouch" the base they occupied at the time of the pitch. The common name for this requirement is tagging up. If the runner retouches the origin base at any time after the fly ball is first touched by a fielder, he may attempt to advance to the next base or bases at his own risk.
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After the pictures are taken the couple later returns to the salon to select which photos they would like printed and in what size. The salon then retouches the images so they are perfect and then sends them off to be printed where they are again retouched to be perfect. After the photos are sent back to the salon where they are organized and framed. The couple then picks up their photographs and the process is completed.
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Benvenuto's work now resides in the National Gallery of Art in Washington, D.C., but is currently not on exhibit. The date of the painting is unknown, with estimates ranging from 1460 to 1490. The difficulty in deciphering the date largely comes from the wear on the work, with most of the original painting being now covered by retouches. Nevertheless, when compared to Bevenuto's dated pieces, many art historians are convinced that it was completed between 1470 and 1475.
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Monica visits her mother Sable, who has relocated to Denver, in "The Son Also Rises". Sable convinces Monica to stay and help her with her campaign to destroy her cousin Alexis, Fallon's mother. In "Grimes and Punishment", Monica tries to persuade Jeff to take Sable's side in the impending war between Alexis and Sable. In "Here Comes the Son", Blake's son Adam Carrington (Gordon Thomson) retouches a photograph of half-siblings Jeff and Monica to appear as if their relationship may be incestuous.
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Previous retouches were removed and a natural resin varnish was applied. The painting's original frame, long missing, was located in 1992. It too was cleaned, restored, and reinstalled to the painting. During the restoration, it was discovered that a long-standing ascription of the painting's date to 1883 was the result of a misinterpretation: the artist's original inscription of 1885 was painted in a fugitive red-lake pigment that had faded, and was mistakenly repainted by a conservator to the earlier date.
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Tanjiro's water-based techniques were created using a mix between hand-drawn animation and CGI, while his battle against Rui was one of the most worked scenes in the making. Takahashi also said that Tanjiro is his most relatable character from the series due to how his constant hard work inspires him. When the anime series premiered in China, Tanjiro's design was sightly altered. Due to his piercings having Rising Sun style elements, it was feared it would offend the Mainland leading to brief retouches to them.
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His thesis, completed under the advisement of David Russell Williams, was entitled "Portrait with Retouches: The Adaptation and Transformation of Stravinsky's Pulcinella Finale." He was subsequently accepted as a doctoral student and teaching fellow at the University of North Texas; he was enrolled there from 1993 to 1995, and studied with John Covach, Graham Phipps, Janna Saslaw, David Schwartz, and others. He left the program after spring 1995, in order to apply to other schools. In fall 1996, he began doctoral studies at Yale University.
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It was available with a single-tyre rear axle, allowing for more space between rear wheel wells inside the cargo floor. An LT with four-wheel drive that could be enabled from within the cab was also available. The next facelift in 1986 changed the round headlights to rectangular units, as well as other minor cosmetic retouches. In Spring 1993, there was again a modest change in the look, with new grey-plastic elements introduced to the radiator grille and in the rear lighting section.
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Māori man retouches the painted tattoo on a carved wooden tiki at Whakarewarewa Model Village, New Zealand, 1905. Hawaiian kii at Puʻuhonua o Hōnaunau National Historical Park Tiki statuette from the Marquesas In Māori mythology, Tiki is the first man created by either Tūmatauenga or Tāne. He found the first woman, Marikoriko, in a pond; she seduced him and he became the father of Hine-kau-ataata. By extension, a tiki is a large or small wooden or stone carving in humanoid form, although this is a somewhat archaic usage in the Māori language.
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Backed edge blades have one of the edges, generally a side one, rounded or chamfered by abrupt retouching. There are fewer types of these blades, and may be divided into those where the entire edge is rounded and those where only a part is rounded, or even straight. They are fundamental in the blade-forming processes, and from them, innumerable other types were developed. Dufour bladelets are up to three centimeters in length, finely shaped with a curved profile whose retouches are semi-abrupt and which characterize a particular phase of the Aurignacian period.
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The first and most extensive recorded cleaning, revarnishing, and touch-up of the Mona Lisa was an 1809 wash and revarnishing undertaken by Jean-Marie Hooghstoel, who was responsible for restoration of paintings for the galleries of the Musée Napoléon. The work involved cleaning with spirits, touch-up of colour, and revarnishing the painting. In 1906, Louvre restorer Eugène Denizard performed watercolour retouches on areas of the paint layer disturbed by the crack in the panel. Denizard also retouched the edges of the picture with varnish, to mask areas that had been covered initially by an older frame.
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The conservators also discovered that the subject was wearing a cross necklace which Mary Lincoln would not have worn as she was not a Roman Catholic. As the painting had been owned by the Lincoln family, the authenticity of the painting was not immediately questioned. The conservators that worked on the initial restoration reasoned that the added paint was likely the result of "heavy handed" retouches by other conservators or by Francis Bicknell Carpenter who was known to "fiddle with" his finished paintings. The lack of resemblance to the woman in the portrait to the real Mary Lincoln was rationalized as "artistic idealization".
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Although the foundation is medieval, the architectural forms acquired after the Baroque retouches prevail. The building consists of three naves, the largest one covered by a vault introduced by a series of veils with a lower bezel and the side ones covered by cross vaults. The short transept consists of two rectangular-shaped chapels opened in the Baroque age, dedicated of the Madonna del Rosario on the left and to the Crucifix on the right. The presbytery and the choir is flanked by two small naves in which recent restorations have led to the discovery of interesting paintings from 14th and 16th centuries.
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Troisiéme Edition. H. Floury, Libraire-Editeur, 1, Boulevard des Capucines, Paris, 1921. Apport des néo-impressionnistes. Pages 69, 70. Pointillistic retouches applied around 1887 Less flatteringly, an anonymous reviewer of Durand-Ruel’s Impressionist Exhibition in New York City wrote in the newspaper The Sun that, “The great master, from his own point of view, must surely be Seurat whose monstrous picture of The Bathers consumes so large a part of the Gallery D. This is a picture conceived in a coarse, vulgar, and commonplace mind, the work of a man seeking distinction by the vulgar qualification and expedient of size.
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The piece was crafted and designed by Reggie Parks, who had manufactured titles for the World Wrestling Federation (WWF, now known as WWE) and other international companies. Its original colors included light-blue on the globes and black on the company acronym. In subsequent retouches, the underlying chrome base was evident, the blue coloration was darkened, "IWA" was recolored red throughout, the Pan-African flag was changed twice (first to that of Venezuela and later Germany) and the flag of Italy was switched with France's. In 2018, Collection Spot was commissioned to restore the IWA World Heavyweight Championship, adding to the work previously done by Rolando Martínez.
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The second vote, held immediately afterwards, was on a proposal to insert a comma, so that "Sancta Romana Catholica Ecclesia" (The Holy Roman Catholic Church) would become "Sancta Romana, Catholica Ecclesia" (The Holy Roman, Catholic Church). This too was defeated, though not as overwhelmingly as the first proposal. In a later vote, held on 12 April 1870, the text as a whole, which preserved the same opening words, was approved with 515 affirmative votes (placet) and no opposing votes (non placet); but there were 83 placet iuxta modum votes, asking for retouches, many of them regarding the opening words of chapter I.Granderath, p. 27Jean-Yves Lacoste, Encyclopedia of Christian Theology: G - O (CRC Press, 2005 , ), p.
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"In this context, mention was made of the role of a 'Moderator Curiae' (Moderator of the Curia), and the functions of such a figure. The issue was touched upon but no decision has been made as to whether it will form part of the new constitution; however, it is in fact one of the hypotheses suggested by the Council". The council had its second meeting from 3–5 December, discussing the Congregation for Divine Worship and the Discipline of the Sacraments, entering fully into their in-depth task, not limited to retouches or minor improvements. The revision of Pastor Bonus is substantial, to the extent that it may be considered as a new constitution for the Curia.
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In this project, Hayeur photographs the waterways near New Jersey's chemical coast and in Rossville (Staten Island). The photographs reveal "aquatic deserts," which Hayeur attributes to a lack of oxygen caused by pollution in these areas. In her photographs, Hayeur captures the unconventional beauty of these lifeless waters as they become animated in the wavering sunlight. Hayeur also works in panoramic photography to capture expansive landscapes. Hayeur’s panoramic photographs are digitally manipulated as she retouches the landscapes by adding fragments of other images taken from environments in various locations. With these additions, Hayeur’s images reveal conditions of the environment that unaltered documentary photography cannot show. Hayeur’s photo manipulations are described as a parody of objective documentary photography. To create these images, Hayeur uses Adobe Photoshop software.
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Tony Isabella, who knew Orzechowski from the comics club, joined Marvel Comics in 1972, and soon got Orzechowski his first professional work, lettering retouches on the Marvel UK editions of classic Fantastic Four, Thor, Hulk, The Amazing Spider-Man, and Daredevil stories. Within a few months, Orzechowski had worked his way up to lettering for some of Marvel's black-and- white monster magazines. One of his first jobs of that kind was for Monsters Unleashed, on one of the first Marvel stories written by future X-Men scribe Chris Claremont. Orzechowski's connections from the comics club days paid off again when Rich Buckler pulled him over to letter Black Panther (Jungle Action), and Jim Starlin did the same for Starlin's run on Captain Marvel.
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At the same time, the rooftops of the guardhouse was re-tiled; the reconstruction of one of the towers in a degraded state of ruin; recuperation of various walls; consolidation of the keep tower and restoration of the parapets; reconstruction of the battlements; recuperation of the gates; re-plastering in the guardhouse; and the general cleaning of the cistern in the military square. Two decades later (1965) the walls were repaired following the removal a shed along its flanks, which involved of the repair of the axis. In 1967, work began on a municipal museum within the towers of the castle, resulting in the ornamentation of the towers in regional tile; retouches and reconstruction of spaces; and the installation of electricity.
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These include Eusebius' Ecclesiastical History, translated in 401 at the request of Bishop Chromatius of Aquileia as an antidote to the terror caused by the Gothic incursions into Italy.Mark Vessey, 'Jerome and Rufinus', in Frances Young, Lewis Ayres and Andrew Louth, eds, The Cambridge History of Early Christian Literature, (2010), p325 Rufinus omits much of Eusebius' tenth book, and compresses what remains of it into book 9; he also retouches the narrative in several places and adds two books of his own to bring the account down to the death of Theodosius the Great (395). Such translations often appear to have been done as a result of a commission, or with a local readership in mind, and so it seems likely that Rufinus worked with the support of friends and patrons.
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After contacts with the German intelligence agency, Bundesamt für Verfassungsschutz (BfV), in Bonn in early June, Bseiso purchased a Jeep Renegade, which he had arranged to be imported from the United States to Germany, and drove it to Paris where he booked at the last moment into the Hôtel Méridien Montparnasse, which caused the Caesarera assassination squad tailing him to make some rapid retouches to their plan. Bseiso realized he was being tracked after noticing a suspicious figure in his hotel lobby and requested protection from the French, who replied that none was available until the following morning. He had arranged an appointment to make a courtesy visit on his French contacts in the counter-espionage department for 10 am the following day. Bseiso intended, on finishing business in Paris, to drive down to Marseilles, and ferry back to Tunis, and surprise his wife Dima and their three children with the new car.
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It was to be the only one used in the West except for local uses that could be proved to have existed for at least 200 years. This exception allowed the Ambrosian Rite, the Mozarabic Rite, and variants of the Roman Rite developed by religious institutes such as the Dominicans, Carmelites, and Carthusians, to continue in use. The differences in the Missals of the religious institutes hardly affected the text of the Roman Canon, since they regarded rather some unimportant rubrics. After Pope Pius V, Pope Clement VIII (1592–1605), Pope Urban VIII (1623–44), and Pope Leo XIII (1878–1903) published revised editions of the Roman Missal, which added a great number of Masses for new feasts or local calendars but, apart from very few retouches to the rubrics, did not affect the text of the Roman Canon until, in the 20th century, Pope John XXIII inserted the name of Saint Joseph.
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